OSS 117 is a french secret agent, a very very french one. His new mission is to exchange a microfilm for money with an ex Nazi in Brazil. for this mission, he will have to team up with a Jewish sexy secret agent and the hippie son of the ex-Nazi. Whatever...The story is not that interesting, this is a parody of 007, a fine one. here, the hero is stupid and old fashioned, but sure to be the opposite. every single line he says is full of anachronism and ignorance, he has no idea of what he's dealing with and he's kind of childish. But he's the best french agent. Hubert Bonisseur de labathe is our own french Austin Power, for a more mature audience. Here, the laugh comes from the gap between the world OSS thinks he lives in and the real world, and the fact that, even facing the real world, he never changes his mind. The first episode was great, funny and thrilling, a complete absurd spy movie. this one is funnier, because now, we now the main character is a complete idiot, but he always gets what he wants, even if quite don't understand how.
30 Reviews
Riotously funny!
dbdumonteil18 April 2010
This second OSS 117 is actually some kind of remake of "Furia A Bahia Pour OSS 117" made in the sixties with Frederick Stafford.But the stories are different ,only the location is the same.André Hunebelle's work was entertaining ,but Hazanavicius's beats him hands down.Like the first film ,nothing is to be taken seriously and that's fine with me,particularly with an actor as funny as Jean Dujardin.
A spoof on spy thrillers which does not spare anybody from James Bond to the Nazis to the CIA ,with a lot of hilarious lines .In spite of occasional parts which drag on (the chase in the hospital) ,there's almost never a dull moment in "Rio Ne Repond Plus" (the title ,like in many spy thrillers ,bears no real relation with the plot!) Allusions to James Bond and Hitchcock abound.His Jewish colleagues call him " double one seven" .Bill Trumendous (what a name!) is some kind of Felix Leiter (Ken Samuels ) ,roaring with laughter ("That Hubert!he was a born joker!")and cracking bad jokes .The ending combines "Vertigo" and "North By Norwest" ;the "I've got a screw loose because of something which happened in my past" trick was much better applied on "Le Caire Nid D'Espion" though :the circus is not that convincing.The split screen was a famous gimmick in the second half of the sixties ("the Thomas Crown Affair" " the Boston strangler" ) and it is used with good results ,notably in the scene of the phone calls.
The action takes place in the sixties hippie times ,but OSS has still got the mind of a man of the fifties .Completely uneducated ,he substitutes a macho attitude and an obsolete moral ("he may be a Nazi,but he is still your father !honor thy father!") for his total incompetence.He may be stupid but he is not malicious when he asks his (female) colleague what the Jews have against the Nazis.It's not sure he knows what he is taking about when he replies " Ah !concentration camps!what a carry-on!" Jean Dujardin shines in this part of the dumb spy and the last scene about China with puns galore -which Sacha Guitry might have loved- may suggest a third episode in this country (Didn't they fight against the Americans in WW2?/ Those were the Japanese/I see ,the Japanese Chinese.)
A spoof on spy thrillers which does not spare anybody from James Bond to the Nazis to the CIA ,with a lot of hilarious lines .In spite of occasional parts which drag on (the chase in the hospital) ,there's almost never a dull moment in "Rio Ne Repond Plus" (the title ,like in many spy thrillers ,bears no real relation with the plot!) Allusions to James Bond and Hitchcock abound.His Jewish colleagues call him " double one seven" .Bill Trumendous (what a name!) is some kind of Felix Leiter (Ken Samuels ) ,roaring with laughter ("That Hubert!he was a born joker!")and cracking bad jokes .The ending combines "Vertigo" and "North By Norwest" ;the "I've got a screw loose because of something which happened in my past" trick was much better applied on "Le Caire Nid D'Espion" though :the circus is not that convincing.The split screen was a famous gimmick in the second half of the sixties ("the Thomas Crown Affair" " the Boston strangler" ) and it is used with good results ,notably in the scene of the phone calls.
The action takes place in the sixties hippie times ,but OSS has still got the mind of a man of the fifties .Completely uneducated ,he substitutes a macho attitude and an obsolete moral ("he may be a Nazi,but he is still your father !honor thy father!") for his total incompetence.He may be stupid but he is not malicious when he asks his (female) colleague what the Jews have against the Nazis.It's not sure he knows what he is taking about when he replies " Ah !concentration camps!what a carry-on!" Jean Dujardin shines in this part of the dumb spy and the last scene about China with puns galore -which Sacha Guitry might have loved- may suggest a third episode in this country (Didn't they fight against the Americans in WW2?/ Those were the Japanese/I see ,the Japanese Chinese.)
A spoof on James Bond about OSS operative stunningly performed by Jean Dujardin
ma-cortes18 December 2011
Comedy spy-thriller with Jean Dujardin as inept secret agent versus nasty high-ranking Nazi played by Rudiger Vogler . Secret agent OSS 117 foils Nazis, beds local beauties , and brings peace to Rio De Janeiro . It's 1967 and the secret agent Hubert Bonisseur De la Bath, a.k.a. OSS 117 is ordered a dangerous investigation in Brazil to the strains of Bossa nova. Hubert Bonisseur is the French spy considered by his superiors to be the best in the business , this time his assistant is the charming Mossad agent who is also seeking the Nazi . He's been sent on a mission to Rio De Janeiro , to look for a former SS officer who went into exile in South America after WWII . His eventful mission takes him all across Brazil , from Rio to Brasilia and the Iguazu Falls , accompanied by a beautiful girl named Dolores Keulachov played by Louise Monot. The man is charming , and so is the young girl spy . Filmed on luxurious sets their tale is by turns an exciting intrigue and a love story . He acts as a playboy , this results to be his cover while he is busy investigating, foiling Nazi attacks and bedding local beauties . Hubert Bonisseur De la Bath, a French spy, is in Brasil to investigate the disappearance an ominous Nazi . He is he smart spy , or is he an imbecile ? He fights well but he's supremely smug and self-confident, even as he's deaf to cultural nuance and others' feelings , so the odds are even that he might survive .
Funny moments along with embarrassing in this second entry about secret agent OSS 117 with a likable Jean Dujardin , role of the accidental spy who doesn't know fear or danger in this comedy spy-thriller . In this entertaining adventure, the most unlikely intelligence officer in French Secret Service must stop a group of international Nazis conspirators led by a previous SS officer before they cause global chaos on the world . Hubert Bonisseur, a French secret agent who dreams of rising beyond his menial job within the OSS organization, after all the other agents are bumped off is hired to discover a microfilm where appears names of collaborationists with Nazis . With one shot at redemption, he must employ all kind of means to unravel a web of conspiracy that runs throughout an ambitious plot . Hubert must use every trick in his play-book to achieve his objectives . For Hugo Bonisseur, disaster may be an option, but failure never is.
This second installment is an acceptable comedy though the formula is well known with 'The Pink Panther' series and recently with 'Johnnny English' by Rowan Atkinson . It stars clumsy Jean Dujardin as one man show accompanied by a gorgeous Louise Monot . The movie gets entertaining and hilarious moments here and there. This slapstick picture contains amusing , funny scenes , fresh and diverting moments but also flaws and gaps . Jean Dujardin steals the show parodying the ordinary international secret agent , James Bond-alike , including his ordinary faces , grimaces and gestures ; he plays stunningly the highly unorthodox agent, the inept and bungler secret agent from OSS .
Appears as secondary the prestigious German actor Rudiger Vogler , Win Wenders's usual ; furthermore two French beauties as Louise Monot and Reem Kherici. The actors seem to enjoy themselves immensely giving funny interpretations . Lively and atmospheric music by Ludovic Bource. Colorful and glimmer cinematography by Schiffman . The film is well penned and directed by Michel Hazanavicius that maintains the slapstick franchise . He also directed in similar style the original film titled ¨OSS 117 El Cairo¨ with Jean Dujarjin and Beatriz Bejo ; both of then will repeat in the successful and recent ¨The artist¨ including Golden Globe nomination . Several chuckles and gags , the result of which is one acceptable second entry . The flick will appeal to comedy fans .
Funny moments along with embarrassing in this second entry about secret agent OSS 117 with a likable Jean Dujardin , role of the accidental spy who doesn't know fear or danger in this comedy spy-thriller . In this entertaining adventure, the most unlikely intelligence officer in French Secret Service must stop a group of international Nazis conspirators led by a previous SS officer before they cause global chaos on the world . Hubert Bonisseur, a French secret agent who dreams of rising beyond his menial job within the OSS organization, after all the other agents are bumped off is hired to discover a microfilm where appears names of collaborationists with Nazis . With one shot at redemption, he must employ all kind of means to unravel a web of conspiracy that runs throughout an ambitious plot . Hubert must use every trick in his play-book to achieve his objectives . For Hugo Bonisseur, disaster may be an option, but failure never is.
This second installment is an acceptable comedy though the formula is well known with 'The Pink Panther' series and recently with 'Johnnny English' by Rowan Atkinson . It stars clumsy Jean Dujardin as one man show accompanied by a gorgeous Louise Monot . The movie gets entertaining and hilarious moments here and there. This slapstick picture contains amusing , funny scenes , fresh and diverting moments but also flaws and gaps . Jean Dujardin steals the show parodying the ordinary international secret agent , James Bond-alike , including his ordinary faces , grimaces and gestures ; he plays stunningly the highly unorthodox agent, the inept and bungler secret agent from OSS .
Appears as secondary the prestigious German actor Rudiger Vogler , Win Wenders's usual ; furthermore two French beauties as Louise Monot and Reem Kherici. The actors seem to enjoy themselves immensely giving funny interpretations . Lively and atmospheric music by Ludovic Bource. Colorful and glimmer cinematography by Schiffman . The film is well penned and directed by Michel Hazanavicius that maintains the slapstick franchise . He also directed in similar style the original film titled ¨OSS 117 El Cairo¨ with Jean Dujarjin and Beatriz Bejo ; both of then will repeat in the successful and recent ¨The artist¨ including Golden Globe nomination . Several chuckles and gags , the result of which is one acceptable second entry . The flick will appeal to comedy fans .
Still funny in the same pattern as the first, but lacking the edge and the freshness
secondtake17 September 2011
OSS 117: Lost in Rio (2009)
Sequels being what they are, this is not quite a match to the original spoof from 2006. But when you have something almost as good as something really terrific, it's still enough. This is enough, for sure, even with the novelty of the situation worn thin.
The main reason is lead actor Jean Dujardin, who continues his parody with aplomb--all the same suave, self-effacing, sexist, racist, ridiculous mix. Instead of Muslims taking the brunt of the jokes, it's Israelis. But the impossibly short skirts and general parading to a male audience is still in place, for better or for worse. And lots of wonderful facial expressions and double-takes.
The rest of the production team is intact here: director, cinematographer, composer. The time period is something like 1968, a few years later than the "Nest of Spies" 2006 version, which is more 1963-ish. So there is an entertaining but less stylish move from "Mad Men" territory (the drinks, the music, the high style) into counterculture territory(most notably the hippie orgy stuff). The hilarious flashbacks of the first movie (on the beach) have been updated to a dramatic but unfunny circus act. And so on. Which is to say, this is a slightly different and slightly less movie.
But, it is still filled with fast, and ridiculous, and comic situations. The cars are great, and Rio is great (it seems to have been largely filmed there, or some impressive CGI stuff is at work). The campy final scenes at the big Jesus statue overlooking the city is purely a Hitchcock spoof (mostly "Suspicion" on the Statue of Liberty with a little "North by Northwest" at Mr. Rushmore). Oddly, this is a kind of parody of something so specific, a kind of post-modern reference, it distracts slightly from the more generic parody that makes up the whole. However, I have to quickly add that it's really well done, very visually astonishing.
So, see this movie if you've seen the first, by all means. If you have a choice (and currently both are streamable on Netflix), I'd start with the start, and then see if you're ready for more. And hang in there because it seems there almost has to be a third. Success is hard to repress.
Sequels being what they are, this is not quite a match to the original spoof from 2006. But when you have something almost as good as something really terrific, it's still enough. This is enough, for sure, even with the novelty of the situation worn thin.
The main reason is lead actor Jean Dujardin, who continues his parody with aplomb--all the same suave, self-effacing, sexist, racist, ridiculous mix. Instead of Muslims taking the brunt of the jokes, it's Israelis. But the impossibly short skirts and general parading to a male audience is still in place, for better or for worse. And lots of wonderful facial expressions and double-takes.
The rest of the production team is intact here: director, cinematographer, composer. The time period is something like 1968, a few years later than the "Nest of Spies" 2006 version, which is more 1963-ish. So there is an entertaining but less stylish move from "Mad Men" territory (the drinks, the music, the high style) into counterculture territory(most notably the hippie orgy stuff). The hilarious flashbacks of the first movie (on the beach) have been updated to a dramatic but unfunny circus act. And so on. Which is to say, this is a slightly different and slightly less movie.
But, it is still filled with fast, and ridiculous, and comic situations. The cars are great, and Rio is great (it seems to have been largely filmed there, or some impressive CGI stuff is at work). The campy final scenes at the big Jesus statue overlooking the city is purely a Hitchcock spoof (mostly "Suspicion" on the Statue of Liberty with a little "North by Northwest" at Mr. Rushmore). Oddly, this is a kind of parody of something so specific, a kind of post-modern reference, it distracts slightly from the more generic parody that makes up the whole. However, I have to quickly add that it's really well done, very visually astonishing.
So, see this movie if you've seen the first, by all means. If you have a choice (and currently both are streamable on Netflix), I'd start with the start, and then see if you're ready for more. And hang in there because it seems there almost has to be a third. Success is hard to repress.
More low-brow French fun.
planktonrules4 February 2011
Apparently, there was some OSS 117 series back in the 60s. I have never seen it and know nothing about the films. I do know, however, that just recently there have been a couple cute French spy films starring Jean Dujardin. Neither film makes a lot of sense, but they are entertaining and fun. Previously, OSS 117 went on a mission to Egypt. Now he's being sent to Rio to track down an ex-Nazi and obtain a list of French collaborators. Oddly, this film is set in the 1960s--and the previous one was set in the 50s. No matter, it's the same silly old spy character.
As I said above, the film makes almost no sense at all. The Nazis have two Mexican luchadors (wrestlers in hoods) who run about Brazil in suits! This is an obvious nod to the silly Mexican luchador films where you see characters like el Santo going on dates, fighting crime or monsters or making love--all in the silly hood. There are also some black Nazis--again, this film never tries very hard to make sense! While it is all silly fun, this is still a rather adult movie--much more so than the one set in Cairo. There is some nudity, a lot of blood and a CIA agent named Bill who uses the most amazingly colorful language I've seen in a long time. Also, while it makes fun of OSS 117's racism, sexism and overall arrogant xenophobic manner, the easily offended might still blanch at the film. But considering he IS supposed to be an idiot, his comments about Jews, women and the like are all intended to point out his idiocy.
In many ways this film is like an Austin Powers and Matt Helm film put together. Like Helm, there is the Dean Martin music and OSS 117's manner is pure Helm. Plus, like Helm, Dujardin is a nice looking guy. It is a bit Powers-like....but much, much more subdued and subtle--something you'd never call a Powers film! Cute and entertaining in a very low-brow sort of way.
As I said above, the film makes almost no sense at all. The Nazis have two Mexican luchadors (wrestlers in hoods) who run about Brazil in suits! This is an obvious nod to the silly Mexican luchador films where you see characters like el Santo going on dates, fighting crime or monsters or making love--all in the silly hood. There are also some black Nazis--again, this film never tries very hard to make sense! While it is all silly fun, this is still a rather adult movie--much more so than the one set in Cairo. There is some nudity, a lot of blood and a CIA agent named Bill who uses the most amazingly colorful language I've seen in a long time. Also, while it makes fun of OSS 117's racism, sexism and overall arrogant xenophobic manner, the easily offended might still blanch at the film. But considering he IS supposed to be an idiot, his comments about Jews, women and the like are all intended to point out his idiocy.
In many ways this film is like an Austin Powers and Matt Helm film put together. Like Helm, there is the Dean Martin music and OSS 117's manner is pure Helm. Plus, like Helm, Dujardin is a nice looking guy. It is a bit Powers-like....but much, much more subdued and subtle--something you'd never call a Powers film! Cute and entertaining in a very low-brow sort of way.
Some hilarious parts but pretty ludicrous too
adeej26 July 2009
Warning: Spoilers
The second OSS 117 film that I've seen. The hero Hubert thinks that he's God's gift to women, a la the James Bond films. The story line is pretty ludicrous, but it is a fun spoof of the classic spy movie. Some of the more ludicrous parts are: * The hero and the villain falling off a lookout down the Iguazu Falls and surviving - yeah right! * Finally beating the hero on top of the Jesus statue on top of the Corcovado in Rio (I won't say any more than that) * The hero being shot out plenty of times but him never getting shot * The Nazi and Chinese sub-plots (that's as far as I'm going on that one too) * The location of the microfilm that the villain wants (again, I'm saying no more - but it's somewhere completely unexpected!)
Would I recommend others see this film? Yes, if they can put logic aside and enjoy a fun romp of a film that is inane, but very funny.
Would I recommend others see this film? Yes, if they can put logic aside and enjoy a fun romp of a film that is inane, but very funny.
Excellent french humor
nbrulay24 January 2010
The two new OSS 117 movies has a kind of humor which is both intelligent and dumbed-down at the same time, which I find extremely amusing. It really reminds me of the classic Pink Panther movies with an almost as good leading man as Peter Sellers in Jean Dujardin. And unlike Steve Martin completely ruining Clouseau, Dujardin is quite brilliant.
The comments regarding the movies' being anti-semitic, are obviously a case of a complete lack of humor and therefor understanding.
Whether you will enjoy or hate this movie really comes down to what kind of humor you have. I can't wait for the sequel!
The comments regarding the movies' being anti-semitic, are obviously a case of a complete lack of humor and therefor understanding.
Whether you will enjoy or hate this movie really comes down to what kind of humor you have. I can't wait for the sequel!
That Klutz From Rio
writers_reign20 January 2010
Warning: Spoilers
Clearly this franchise is going to divide opinion. First of all it's a spoof and not only that but a spoof of a spoof of a spoof; when the first James Bond movie, Dr. No, took off and spawned a franchise that it still going strong it was ripe for satire and it came in two forms, Derek Flint (James Coburn) and Matt Helm (Dean Martin). The French got in the act with OSS117, which was revived a couple of years ago with a new actor, Jean Dujardin, who resembles a cross between Sean Connery and Leonard Rossiter which makes him effective for English viewers especially as he is written as a Mr. Bean with charisma. The plot is hogwash but its anti-PC stance shows its heart is in the right place. Basically you'll either laugh out loud or cringe.
Part Deux
kosmasp19 November 2009
Well actually there are quite a few "Oss 117" movies, but this is the second one with Jean Dujardin as Oss 117! A third one is about to follow (and I hope IMDb is right and it will come out next year/2010). I love the movies. And you actually don't have to have seen the first one ... but it's great, so actually maybe you should (have)! ;o)
Seriously though: Jean Dujardin is back, as an obnoxious agent, but a lovely one at that. An agent, who does not know the word regret and or the meaning of "political correct". So he hasn't changed (really) from part 1, but that's exactly how we like him. With this movie (and the one before that and surely the one after that), you will either love or hate the movie/character.
So are you into a "Bond" movie that actually is rather a spoof and will you love it? I still haven't seen the original movies, but I'm afraid I'm too spoiled by these movies, so I won't really enjoy the earnest Oss 117. Anyway, I can only highly recommend this movie ...
Seriously though: Jean Dujardin is back, as an obnoxious agent, but a lovely one at that. An agent, who does not know the word regret and or the meaning of "political correct". So he hasn't changed (really) from part 1, but that's exactly how we like him. With this movie (and the one before that and surely the one after that), you will either love or hate the movie/character.
So are you into a "Bond" movie that actually is rather a spoof and will you love it? I still haven't seen the original movies, but I'm afraid I'm too spoiled by these movies, so I won't really enjoy the earnest Oss 117. Anyway, I can only highly recommend this movie ...
one year after the star and director became well known in the US
lee_eisenberg6 January 2013
In late 2011, "The Artist" got released. It went on to win Best Picture (only the second silent movie to do so), as well as Best Actor and Best Director. Prior to its release, I had never heard of Michel Hazanavicius or Jean Dujardin. Right after I saw "The Artist", I saw an earlier collaboration of theirs: "OSS 117: Cairo, Nest of Spies".
"OSS 117: Rio ne répond plus" ("Lost in Rio" in English) is the sequel to that movie. It's a litany of silly fun as Dujardin's suave spy gets sent to the Brazilian metropolis to find a Nazi fugitive. The movie finds time to make fun of stereotypes, namely the chauvinistic Frenchman and the ugly American. There are a few incongruous aspects, but this sort of movie is all about blatantly silly fun, and it's very much a good time, as was "Nest of Spies". As for "The Artist", its win combined with the Oscars won by "Hugo" have hopefully put the "freedom fries" attitude to rest forever.
"OSS 117: Rio ne répond plus" ("Lost in Rio" in English) is the sequel to that movie. It's a litany of silly fun as Dujardin's suave spy gets sent to the Brazilian metropolis to find a Nazi fugitive. The movie finds time to make fun of stereotypes, namely the chauvinistic Frenchman and the ugly American. There are a few incongruous aspects, but this sort of movie is all about blatantly silly fun, and it's very much a good time, as was "Nest of Spies". As for "The Artist", its win combined with the Oscars won by "Hugo" have hopefully put the "freedom fries" attitude to rest forever.
low brow fun and full of in-jokes
gregking411 April 2010
Warning: Spoilers
One of the constants of the French Film Festival over the years has been the presence of the bumbling secret agent OSS 117 and his misadventures in keeping the world free of the spectre of communism and Nazis. This time he finds himself in Rio, on the trail of a former Nazi who is blackmailing the French Government with a microfilm list of wartime collaborators. "It must be a very short list," our hero remarks. He is aided and abetted by a beautiful Mossad agent who has her own agenda to follow. Jean Dujardin has stamped his own style on the role of the arrogant, sexist, racist, misogynistic, politically incorrect globe trotting spy Hubert Bonisseur de La Bath. The film is a blatant spoof of the'60's cycle of spy films, such as James Bond and Matt Helm, etc, and is shot in glorious retro style reminiscent of the era. Michel Hazanavicius' direction lacks subtlety and the broad humour sometimes misses its mark. However, OSS 117: Lost In Rio is low brow fun and full of in-jokes and references to classic films of the genre.
OK sequel to OSS 117:CAIRO NEST OF SPIES
alanbobet19 October 2009
Warning: Spoilers
I have just seen the recent French DVD release of OSS 117 LOST IN RIO this weekend and I found this second cinematic installment of the new OSS117 film series as good as the first one but not better either. Comparing this film to it;'s predecessor is like comparing IN LIKE FLINT to the superior OUR MAN FLINT. Of course Dujardin is still great in his very humorous and hilarious portrayal of Hubert Bonisseau De la Bath aka French Secret Agent 0SS117. I find that Dujardin's comedic style similar to Peter Sellers in which he plays OSS117 in the same way Sellers played Clouseau. I might even say Dujardin would make a better Inspector Clouseau than Steve Martin. Some of the jokes work while others feel labored and forced but Dujardin's amusing performance as well as the on location Brazilian cinematography is great. I especially liked the fact that the Nazi top villain Von Zimmel had two Mexican masked wrestlers named after Blue Demon and Santo, the famous masked wrestlers of 60's Mexican Cinema. Even with it's weak spots, this is a fun sequel to the original.
Going down to Rio with OSS 117.
morrison-dylan-fan6 January 2019
Warning: Spoilers
Recently having a run of X-Mas and New Year-themed viewings, I decided to break the cycle by choosing from one of the movies which has been waiting to be viewed for ages. Finding the Cairo Nest of Spies (2006) mission an utter delight when I watched it last year,I decided to spy on OSS 117's second mission.
View on the film:
Undressing the tailor-made jokes on 60's Bond of the first film, returning co-writer/(with Jean-François Halin) director Michel Hazanavicius continues his collaboration with cinematographer Guillaume Schiffman in patterning this entry to the Euro Spy genre of the 60's in general, and to "happening"/ hippie flicks of the swinging 60's. Dotting OSS 117's introduction with criss-crossing spilt-screens,Hazanavicius spies on a slick chic atmosphere of steamed-up dissolves sinking 117 into the "Free Love" of the era. Going in more of a slap-stick rather than kitsch direction for the quick-paced jokes in this second entry,Hazanavicius sweetly plays up the clichés of the Euro Spy genre with funny gun battles where every shot the baddies take at 117 randomly misses, and gives the beautiful women agents a sparking appearance.
Loosely inspired by OSS 117: Mission for a Killer (1965), the screenplay by Hazanavicius and Halin is less defined on the goals of the mission compared to the first, but serves up a delirious mix of cheeky Euro Spy weirdness of double-dealing agents, booming CIA bosses, dirty hippies,cackling Nazis, and a wonderful final packed with Hitchcock tributes. Keeping 117's dialogue politically incorrect, the writers draw sharp one liners from 117 being completely out of step with the hippie era, via 117 stumbling in offending fellow (Jewish) agent Koulechov each time he tries to create a bond,and his straight-lace macho outlook rubbing up against the Free Love surrounding 117. Joined by a terrific, dead-pan Louise Monot as Koulechov,Jean Dujardin gives an excellent, hilarious return spin as 117,whose devilish cad charms Dujardin carries with a swagger match by a fitting look of being unaware of the hilarity when delivering one liners whilst agent OSS 177 finds himself a fish out of water lost in Rio.
View on the film:
Undressing the tailor-made jokes on 60's Bond of the first film, returning co-writer/(with Jean-François Halin) director Michel Hazanavicius continues his collaboration with cinematographer Guillaume Schiffman in patterning this entry to the Euro Spy genre of the 60's in general, and to "happening"/ hippie flicks of the swinging 60's. Dotting OSS 117's introduction with criss-crossing spilt-screens,Hazanavicius spies on a slick chic atmosphere of steamed-up dissolves sinking 117 into the "Free Love" of the era. Going in more of a slap-stick rather than kitsch direction for the quick-paced jokes in this second entry,Hazanavicius sweetly plays up the clichés of the Euro Spy genre with funny gun battles where every shot the baddies take at 117 randomly misses, and gives the beautiful women agents a sparking appearance.
Loosely inspired by OSS 117: Mission for a Killer (1965), the screenplay by Hazanavicius and Halin is less defined on the goals of the mission compared to the first, but serves up a delirious mix of cheeky Euro Spy weirdness of double-dealing agents, booming CIA bosses, dirty hippies,cackling Nazis, and a wonderful final packed with Hitchcock tributes. Keeping 117's dialogue politically incorrect, the writers draw sharp one liners from 117 being completely out of step with the hippie era, via 117 stumbling in offending fellow (Jewish) agent Koulechov each time he tries to create a bond,and his straight-lace macho outlook rubbing up against the Free Love surrounding 117. Joined by a terrific, dead-pan Louise Monot as Koulechov,Jean Dujardin gives an excellent, hilarious return spin as 117,whose devilish cad charms Dujardin carries with a swagger match by a fitting look of being unaware of the hilarity when delivering one liners whilst agent OSS 177 finds himself a fish out of water lost in Rio.
Terrible sequel
mauclerc12 March 2011
Although I was pleasantly surprised by the previous OSS movie ; this sequel is just terrible. The story lacks rhythm and logic. Hubert Bonisseur de la Bath in the first movie was a caricature of the conservative Frenchman of the 50s : racist, sexist, arrogant... However, these traits were not emphasize so much as in the sequel and he had charisma.In Rio ne répond plus, he is just a one dimensional obnoxious a**hole. The other characters are simply useless (especially Dolores ; I cannot even blame the actress for her performance, as the character lacks personality). As for humor, I did laugh a few times, but not as much as I was hoping. French cinema at its worth.
Idiotic French MATT HELM or FLINT
searchanddestroy-126 May 2023
I depise comedies, especially French comedies - I am French - except old Louis De Funès, Bourvil and Fernandel films - and I hate those stupid movies where I need some one to tell me when to laugh.... But those 0SS 117 features starring Jean Dujardin, there are three of them so far- I LOVE IT. And I was at first very reluctant to imagine OSS 117 as comedies. You see, I saw the genuine OSS 117 when I was a kid, starring Frederic Stafford, which were not comedies at all. So I was afraid to watch those; but what a surprise after the first time I saw them. Here the peculiarity is not the story of course, it is so stupid, but that's precisely the purpose of this masterpiece. To, FOR ONCE, the film presents a hero who is very handsome, the most handsome man on earth, womanizer, great fighter, so elegant, but AND THAT IS ALSO THE EXQUISITE CONTRAST, a guy totally racist, sexist, childish, pretentious, antisemitic, without any education nor culture, idiot at a scale you can't even imagine. I could not stop laughing during the time I saw those movies. Jean Dujardin reminds Jean Paul Belmondo, for instance in LE MAGNIFIQUE, but Belmondo's character was less idiotic, or also Dean Martin in MATT HELM films. Anyway it is absolutely impossible to show a more dumb character on screen. Just enjoy this wonderful tribute to the sixties espionnage films period and more precisely the MATT HELM and FLINT film series starring Dean Martin for the first and Jim Coburn for the second.
rehearsal for The Artist?
dromasca5 October 2012
I am yet to see The Artist, the film that conquered the Academy preferences and received the Oscar for the Best Film, as well as the Best Actor award for Jean Dujardin. I had recorded however about one year ago one of the previous films made by director Michel Hazanavicius with Dujardin in the principal role as well. Now I included it in the holidays season viewing package, and it was one of the most pleasant and holiday-suited choice that I made.
Lost in Rio (the English title) or Rio ne répond plus happens in the 1960s, when most of the novels of Jean Bruce were written. Bruce's hero Hubert Bonisseur de la Bath was a replica of James Bond, one of the many created in the decades after the apparition of the novels of Jan Fleming, but he had a French touch and Gallic humor, which is the focus of the interpretation of director Hazanavicius. At no moment does he try to be politically correct, actually under the cover of making a film about the 60s he allows to himself to mock and exaggerate stereotypes of French, German and Israelis, Nazis and Nazi-hunters, macho men and babe-shaped women. The result is pretty funny.
Do not invest too much into probing the credibility of the story, sit, relax and prepare for a few good laughs. If you follow this path there are good chances to enjoy this film. Jean Dujardin is certainly a great actor, and watching his work is a delight. An eyebrow, a faint smile or an hysterical laugh can sustain a full gag. He is in good company. I remember some of the French comedies of the 60s and they were really good, not only because they were blessing by actors such as Louis de Funes, Fernandel and Bourvil, but also because they allowed themselves to be crazy and ignore the social conventions. Everything was fair game for laughing. Films like this one, even if they do not hit gold as The Artist contain the promise of starting to build another significant lot of comedies in the French cinema.
Lost in Rio (the English title) or Rio ne répond plus happens in the 1960s, when most of the novels of Jean Bruce were written. Bruce's hero Hubert Bonisseur de la Bath was a replica of James Bond, one of the many created in the decades after the apparition of the novels of Jan Fleming, but he had a French touch and Gallic humor, which is the focus of the interpretation of director Hazanavicius. At no moment does he try to be politically correct, actually under the cover of making a film about the 60s he allows to himself to mock and exaggerate stereotypes of French, German and Israelis, Nazis and Nazi-hunters, macho men and babe-shaped women. The result is pretty funny.
Do not invest too much into probing the credibility of the story, sit, relax and prepare for a few good laughs. If you follow this path there are good chances to enjoy this film. Jean Dujardin is certainly a great actor, and watching his work is a delight. An eyebrow, a faint smile or an hysterical laugh can sustain a full gag. He is in good company. I remember some of the French comedies of the 60s and they were really good, not only because they were blessing by actors such as Louis de Funes, Fernandel and Bourvil, but also because they allowed themselves to be crazy and ignore the social conventions. Everything was fair game for laughing. Films like this one, even if they do not hit gold as The Artist contain the promise of starting to build another significant lot of comedies in the French cinema.
Completely "off", unique, but rewatcheable?
butterman_19998 May 2019
Warning: Spoilers
I had absolutely no expectations going into this movie, not even aware that it was a sequel in itself. The film came to our attention being distributed by a Quebecois company.
This french film can be described as a "spoof"-like semi-absurd comedy on the good old Sean Connery era of James Bond spy/action films in the mid-late 60s.
The film in itself is very well shot: the use of mosaic-like multi-images throughout never seems tedious nor gratuitous (save maybe for the introductory scene playing as the crédits roll) although after a while may proove to be epileptic-inducing. The photography is brilliant and deserves a mention.
The production design, and especially the recreation of the mid-late 60s is also of note, being quite spectacular in being very true to what we may remember from films of that era, save perhaps for a few wardrobe choices for some of the smaller roles. Still, the fact that pristine and working vintage cars appear throughout this film is an accomplishement in itself!
However the film is quite "off" - the humor never gets too "slapstick" although it borderlines so, never gets too "juvenile", although it does surf the fine line on more than one occasion. The humor is quite unique in this film, being both very "french" while also being unlike the commonalities we seem to have gotten used to in modern spoof-humor. Sometimes gags are over-played but stop just before the tipping point, and other times some bits seem placed just because the opportunity presented itself.
In the end I could not say I did not enjoy seeing this film, but I admit I can not see any re-watcheability factor to it. Granted, it is indeed unique and Nothing I have seen is any "weird" the way this movie is, but for my money, I think that once was enough, which accounts for my ranting of course.
This french film can be described as a "spoof"-like semi-absurd comedy on the good old Sean Connery era of James Bond spy/action films in the mid-late 60s.
The film in itself is very well shot: the use of mosaic-like multi-images throughout never seems tedious nor gratuitous (save maybe for the introductory scene playing as the crédits roll) although after a while may proove to be epileptic-inducing. The photography is brilliant and deserves a mention.
The production design, and especially the recreation of the mid-late 60s is also of note, being quite spectacular in being very true to what we may remember from films of that era, save perhaps for a few wardrobe choices for some of the smaller roles. Still, the fact that pristine and working vintage cars appear throughout this film is an accomplishement in itself!
However the film is quite "off" - the humor never gets too "slapstick" although it borderlines so, never gets too "juvenile", although it does surf the fine line on more than one occasion. The humor is quite unique in this film, being both very "french" while also being unlike the commonalities we seem to have gotten used to in modern spoof-humor. Sometimes gags are over-played but stop just before the tipping point, and other times some bits seem placed just because the opportunity presented itself.
In the end I could not say I did not enjoy seeing this film, but I admit I can not see any re-watcheability factor to it. Granted, it is indeed unique and Nothing I have seen is any "weird" the way this movie is, but for my money, I think that once was enough, which accounts for my ranting of course.
O.S.S. 117 Is Back (and there just may be trouble)
druid333-28 July 2010
Warning: Spoilers
O.S.S.117,is the French version of James Bond. Although (for women anyway)he is handsome & suave,he is a walking catalog of neuroses. He is vain,a racist,sexist,homophobic,xenophobic clod,he does get the job done. Although I've never read any of the O.S.S. 117 novels,or seen any of the original films (with the first dating back to the late 1950's),I did see the last outing,'O.S.S.117:Cairo,Nest Of Spies',which I did admire & find drop dead funny. This time,well...it had good intent. O.S.S.117 is sent by the agency to go to Brazil to find an escaped Nazi war criminal,who is hell bent on setting up a branch of the Nazi party in Rio De Janero. This time,he is sent over with a partner,an attractive Colonel in the Isreali Army,Col.Delores Koulchou. O.S.S. isn't exactly thrilled to be working with a woman (especially one who outranks him),but tries to make good (but not without the best intentions). While in Rio,they team up with an informant,who just happens to live in a hippie commune. After a wild night of sex,drugs (O.S.S.117 is given a hit of L.S.D.),but no rock & roll. The three take after Von Zimmel to try & bring him back for trial for war crimes. Jean Dujardin returns as O.S.S.117,with Louise Monot as Delores Koulchou,Rudger Volger as Von Zimmel,and Alex Lutz as Heinrich. Michel Hazanavicius,who directed Dujardin in 'Cairo:Nest of Spies',returns to direct from a screen play written by Jean Francois Halin,based on the character originally devised by Jean Bruce. The film's breath taking cinematography is by Guillaume Schiffman,with film editing by Raynald Bertrand. Not nearly as good as 'O.S.S. 117:Cairo,Nest Of Spies',but if you're a fan of the series,you may want to check it out,anyway. Spoken (mostly)in French with English subtitles,and English & Portugese. Not rated by the MPAA,this film contains strong language (including some racist & sexist banter),sexual content,nudity,drug references & some violence (although nothing too graphic)
Fun and well done, though indulgent & excessive to its detriment
I_Ailurophile10 June 2023
Coming in at least two parts hammed-up farce to every one part spy spoof, it's safe to say this 2009 sequel is even more ridiculous than its predecessor of three years before. As before, careful attention has been paid in every regard to mimic the look and feel of genre flicks from the late 60s into the 70s. The production design and art direction, costume design, hair, makeup, and even cinematography all play a part in making this seem very much like something that could have been produced forty-odd years prior - save of course for the cheeky modern sensibilities of humor that predominate. Like 'Cairo, Nest of Spies,' this follow-up starts by twisting and making fun of every trope of spy films, most notably but not exclusively James Bond, including loathsome behavior and attitudes of the protagonist - then goes entirely off the rails. Mel Brooks is a good starting point of comparison, but 'OSS 117: Lost in Rio' takes the master's playfulness to outrageous new extremes; the editors had a field day here, as did cinematographer Guillaume Schiffman. The effects are more over the top as they're employed; the acting and Michel Hazanavicius' direction are altogether cartoonish. And the screenplay devised between Hazanavicius and Jean-Francois Halin? Well, suffice to say that relative to its 2006 antecedent or really most any like fare, this is a bit of a wildcard.
Say what one will about the tendency of other facets toward sometimes gawky excess, but even at its most preposterous, every component part demonstrates the skill and intelligence of the contributors. It's not that the same is abjectly untrue of the writing, but Hazanavicius and Halin seem to have thrown caution to the wind in this case, let their impulses run free, and thrown in every idea that came to them. This is to say primarily that the adventure and comedy alike are much more loosely bound to strict Super Agent guidelines than they were for 'Cairo,' and 'Rio' becomes a kind of a free-for-all grab bag. More than that, this picture relies much more heavily on Movie Magic, with leaps in logic and sequencing even as written that represent the type of narrative shortcuts over which any English teacher or literary critic would surely have conniptions. Some cohesion is lost in the process, amplifying the sense (felt most in the last twenty minutes or so) that this is longer than it needed to be or should have been. And still, for all that, nowhere is the indulgent and immoderate approach to the writing felt more than in the magnification of the title character's worst traits. Though bent toward satirical and parodying aims, as was true previously, in this case OSS 117 is so heavily saturated with racism, sexism, and condescending patriarchal arrogance that the joke rather wears thin fast. When riffing on various prejudices and spotlighting them in a person so as to make fun of them, there comes a point when the tack is so heavy-handed as to become tiresome and boorish rather than clever or funny, and like the protagonist, this feature doesn't know when to stop.
It speaks well to Hazanavicius' creativity, and Halin's, that 'Lost in Rio' is still as fun and well done as it is, with its strengths outweighing its faults. The cast is clearly having a blast, and Jean Dujardin especially seems perfectly within his element as pompous, self-important de La Bath. While the movie goes too far - it would have actually benefited from a measure of self-restraint - more than not the humor still comes off very well, with obvious wit taking precedence over the wackiest whims. The end result remains a title that's enjoyable, worth checking out, and a swell credit to all involved. One way or another I don't think there's much arguing that it's a step down from its forebear, but 'Rio' only wanted audiences to have a good time, and it achieves just that. As it falls quite short of perfection it can hardly be said that this particularly demands viewership, but for something light and frivolous on a lazy day it's still more than suitable. Temper your expectations and don't go out of your way for this 2009 film, but if you do have the chance to watch and can abide its more questionable qualities, there are definitely worse ways to spend one's time.
Say what one will about the tendency of other facets toward sometimes gawky excess, but even at its most preposterous, every component part demonstrates the skill and intelligence of the contributors. It's not that the same is abjectly untrue of the writing, but Hazanavicius and Halin seem to have thrown caution to the wind in this case, let their impulses run free, and thrown in every idea that came to them. This is to say primarily that the adventure and comedy alike are much more loosely bound to strict Super Agent guidelines than they were for 'Cairo,' and 'Rio' becomes a kind of a free-for-all grab bag. More than that, this picture relies much more heavily on Movie Magic, with leaps in logic and sequencing even as written that represent the type of narrative shortcuts over which any English teacher or literary critic would surely have conniptions. Some cohesion is lost in the process, amplifying the sense (felt most in the last twenty minutes or so) that this is longer than it needed to be or should have been. And still, for all that, nowhere is the indulgent and immoderate approach to the writing felt more than in the magnification of the title character's worst traits. Though bent toward satirical and parodying aims, as was true previously, in this case OSS 117 is so heavily saturated with racism, sexism, and condescending patriarchal arrogance that the joke rather wears thin fast. When riffing on various prejudices and spotlighting them in a person so as to make fun of them, there comes a point when the tack is so heavy-handed as to become tiresome and boorish rather than clever or funny, and like the protagonist, this feature doesn't know when to stop.
It speaks well to Hazanavicius' creativity, and Halin's, that 'Lost in Rio' is still as fun and well done as it is, with its strengths outweighing its faults. The cast is clearly having a blast, and Jean Dujardin especially seems perfectly within his element as pompous, self-important de La Bath. While the movie goes too far - it would have actually benefited from a measure of self-restraint - more than not the humor still comes off very well, with obvious wit taking precedence over the wackiest whims. The end result remains a title that's enjoyable, worth checking out, and a swell credit to all involved. One way or another I don't think there's much arguing that it's a step down from its forebear, but 'Rio' only wanted audiences to have a good time, and it achieves just that. As it falls quite short of perfection it can hardly be said that this particularly demands viewership, but for something light and frivolous on a lazy day it's still more than suitable. Temper your expectations and don't go out of your way for this 2009 film, but if you do have the chance to watch and can abide its more questionable qualities, there are definitely worse ways to spend one's time.
A Bumbling Spy Sent on a Delicate Mission
Uriah439 May 2021
After the surrender of France in World War 2 there were essentially two factions within the country with far different agendas. The first group was known as the Free French and they were determined to continue the war against Germany any way they could. The second group consisted of those in the Vichy government who sought to mitigate the worst impulses of the Nazis by ostensibly working with them to a certain extent. At least, that is what many of these people tried to do. Unfortunately, some of them were viewed as traitors to France and were labeled collaborators in spite of the fact that it was difficult to determine the exact reasons why people acted the way they did. It was a complicated time. Be that as it may, this film essentially begins in 1967 with a top French official receiving a ransom note from a former Nazi official by the name of "Professor Von Zimmel" (Rudiger Vogler) demanding 50,000 Francs in exchange for a list on microfilm containing the names of several collaborators within the French government. The demand also stipulates that they want OSS Agent 117 "Hubert Bonisseur de la Bath" (played by Jean Dujardin) to deliver the money to them in Rio de Janeiro. Realizing the damage this information could have within certain branches of the French Government they agree to pay the ransom immediately. However, upon arriving in Rio de Janeiro, OSS Agent 117 meets members from the Mossad who propose a mutually beneficial arraignment which stipulates that they will help him get the microfilm while at the same time they capture Professor Von Zimmel and take him back to Israel to stand trial for his war crimes. Hubert agrees but what he doesn't realize is that Professor Von Zimmel has an ulterior motive for requesting him. Likewise, Hubert also doesn't know that his mission is going to become even more difficult due to the Chinese sending assassins to kill him for an incident that happened a little while earlier. Now rather than reveal any more I will just say I was pleasantly surprised at how well this comedy turned out as it was, in my opinion, even more humorous than its immediate predecessor. I especially liked the performance of Jean Dujardin who played the role of a bumbling and incompetent spy to near perfection. In any case, I recommend this film for those looking for a comedy of this type and I have rated it accordingly. Above average.
When Amateurs Do Comedy
Comediator5 March 2012
This film is a great test to see if your friends have a sense of humor, because no intelligent comedy fan could enjoy this. Don't let the excuses that it's "silly" humor fool you; I love silly humor, and I truly love racial and edgy humor, and this film fails at both.
The writing is simply uninspired and feels like a rushed room full of executives wrote it rather than anyone who's ever worked as a comedy writer. The last joke of the movie is such a stinker it sums up the whole film. Bad jokes and lazy writing disguised with charm and good acting.
I saw this film in a theater full of fans who wanted desperately to love it, but an hour in the crowd went permanently silent as the onslaught of forced humor weighed on us all. Many jokes seemed like they would have been funny 40 years ago but today are so hackneyed and simplistic it's just uncomfortable and intellectually insulting.
To put it simply, if you found this movie hilarious, I'm willing to bet my life that you never make other people laugh.
The writing is simply uninspired and feels like a rushed room full of executives wrote it rather than anyone who's ever worked as a comedy writer. The last joke of the movie is such a stinker it sums up the whole film. Bad jokes and lazy writing disguised with charm and good acting.
I saw this film in a theater full of fans who wanted desperately to love it, but an hour in the crowd went permanently silent as the onslaught of forced humor weighed on us all. Many jokes seemed like they would have been funny 40 years ago but today are so hackneyed and simplistic it's just uncomfortable and intellectually insulting.
To put it simply, if you found this movie hilarious, I'm willing to bet my life that you never make other people laugh.
Very French, very offensive and very funny
meduzahollywood22 July 2020
Discovered this film by accident -- was totally unaware of the series it is meant to spoof or its predecessor by the same actor/director team (also responsible for The Artist).
Laugh out loud funny take on 60s spy movies really captures the look of the era -- great split screen visuals and color -- with a soundtrack that will have you heading to ITunes. As for the humour -- if you are easily disturbed by sexism, racism, antisemitism, homophobia and misogyny then this is probably not the film for you even if all of the jokes are self-aware of their inappropriateness and everyone gets skewed equally.
Laugh out loud funny take on 60s spy movies really captures the look of the era -- great split screen visuals and color -- with a soundtrack that will have you heading to ITunes. As for the humour -- if you are easily disturbed by sexism, racism, antisemitism, homophobia and misogyny then this is probably not the film for you even if all of the jokes are self-aware of their inappropriateness and everyone gets skewed equally.
OSS 117, French secret agent, a bit of a sexist
deloudelouvain17 August 2018
OSS 117: Lost In Rio is the sequel from OSS 117: Cairo, Nest Of Spies from 2006. It's about the same level of humor, I wouldn't say there is any difference of quality between those two movies. It's still as silly as it can be, not the kind of humor everybody likes. For me it's just about okay, good enough to watch once but that's about it. The French secret agent OSS 117 is a mixture of Austin Powers, James Bond and Peter Sellers in The Pink Panther. He's a bit stupid but always manages to solve a case and that with alot of luck. Jean Dujardin has the right silly face to play that role. OSS 117 is a bit sexist and racist if you ask me but I guess it fits his character from the sixties. The whole shooting of the movie feels like everything is from the sixties, even the making of the movie. Don't expect a serious story because there is absolutely nothing serious about this movie. A Sean Connery look-a-like secret agent, charming but sexist, a couple dozens of goodlooking girls, a bunch of bad guys and that's what you get for the entire movie.
Call me stupid, Hubert Stupid
vostf27 March 2009
A spy spoof where the hero is a low-brow and self-important tough guy? Well, we're nowhere close to a genius idea, yet it proves to be a really fine approach when depicting racial/sexual prejudices in that big jaw-dropping mouth of OSS117.
Unfortunately he will never be made to look altogether ridiculous. His female sidekick has the unredeeming part of standing one foot in reality while listening to the French agent's abysmal puns without ever punching him in the mouth.
All this stuffy stuff is a big joke, OSS117 is a funny a**hole (at least he thinks he's funny) and nothing is serious. The movie ends up as stupid as its main character, except for a couple of fine one-liners. I suppose we can call this a success as long as there is an audience willing to revere in dumb and dumber bouts of action canned with zero respect for the craft of visual storytelling. A full bag of (mostly) terrible jokes will never make up for the skills of polishing a storyline and building characters, even stupid characters. Even more über stupid characters.
Unfortunately he will never be made to look altogether ridiculous. His female sidekick has the unredeeming part of standing one foot in reality while listening to the French agent's abysmal puns without ever punching him in the mouth.
All this stuffy stuff is a big joke, OSS117 is a funny a**hole (at least he thinks he's funny) and nothing is serious. The movie ends up as stupid as its main character, except for a couple of fine one-liners. I suppose we can call this a success as long as there is an audience willing to revere in dumb and dumber bouts of action canned with zero respect for the craft of visual storytelling. A full bag of (mostly) terrible jokes will never make up for the skills of polishing a storyline and building characters, even stupid characters. Even more über stupid characters.
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